What musical traditions of Glinka were further developed. Opera work of M.I. Glinka

MIKHAIL IVANOVICH GLINKA
(1804-1857)

Mikhail Ivanovich Glinkar was born on May 20 (June 1), 1804, in the village of Novospasskoye, now Elninsky district of the Smolensk region.

My childhood years were spent in the village, in the atmosphere of a landowner, manor life. His first musical impressions were connected with folk songs. Very early, the future composer became acquainted with professional European music. As a child, he listened to the concerts of the serf orchestra, often participating in them himself (playing the violin and flute). The years of study in St. Petersburg (1818-22) had a beneficial effect on the formation of Glinka’s personality and worldview. Studying at one of the best educational institutions - the Noble boarding school at the Pedagogical School, where his teacher was the future Decembrist and friend of A. S. Pushkin V. K. Kuchelbecker, and the teachers were progressive-minded scientists A. P. Kunitsyn, K. I. Arsenyev , A.I. Galich, he absorbed the anti-serfdom views widespread in opposition circles.

His youth passed during the formation of secret societies, in an atmosphere of intense ideological struggle. Getting acquainted with the poetry of young Pushkin and Ryleev, meeting with future Decembrists, young Glinka became familiar with the atmosphere of citizenship and love of freedom. Later, after the tragic defeat of the Decembrist uprising, he was brought in for interrogation: his personal connections with the “rebels” were known to the police.

Glinka's musical talent quickly matured under the influence of the artistic environment of St. Petersburg. During his years of study, he often visited the theater, became acquainted with the operas of W. A. ​​Mozart, L. Cherubini, G. Rossini, took violin lessons from F. Boehm, piano from J. Field, and then systematically from S. Mayer. In 1824, G. entered the service in the office of the Council of Railways. But his main occupation was music. By the 20s. These include his first creative experiences: chamber works (2 string quartets, a sonata for viola and piano), an unfinished symphony in B flat major and other works for orchestra; a number of piano pieces, including cycles of variations.

Glinka's talent in the romance genre was especially pronounced. The depth of poetic mood and perfection of form distinguish the best romances of the early period - “Do not tempt”, “Poor singer”, “Georgian song” (to the words of Pushkin). It was of great importance for the composer to meet the greatest poets and writers - A.S. Pushkin, V.A. Zhukovsky, A.A. Delvig, V.F. Odoevsky, in communication with whom the
his creative principles, aesthetic views. The young composer tirelessly improved his skills, studied opera and symphonic literature, and worked a lot with the home orchestra as a conductor (in Novospassky).

In 1830-34 he visited Italy, Austria and Germany. In Italy, G. met G. Berlioz, F. Mendelssohn, V. Bellini, G. Donizetti, was fond of Italian romantic opera, and practiced the art of bel canto (beautiful singing). But soon admiration for the beauty of Italian melos gave way to other aspirations: “...I sincerely could not be Italian. Longing for my homeland gradually gave me the idea of ​​writing in Russian.” In the winter of 1833-34 in Berlin, Glinka seriously studied harmony and counterpoint under the guidance of Z. Dehn, with the help of whom he systematized his theoretical knowledge and improved the technique of polyphonic writing. In 1834 he wrote “Symphony on Two Russian Themes,” paving the way for. In the spring of the same year, Glinka returned to his homeland and began composing his planned opera.

Glinka's studies in Berlin were interrupted by the news of his father's death. Glinka decided to immediately go to Russia. The trip abroad ended unexpectedly, but he basically managed to carry out his plans. In any case, the nature of his creative aspirations was already determined. We find confirmation of this, in particular, in the haste with which Glinka, having returned to his homeland, sets about composing an opera, without even waiting for the final choice of plot - the nature of the music of the future work is so clear to him: “The thought of Russian opera sunk into me; words I didn’t have one, but “Maryina Roshcha” was spinning in my head.

This opera briefly captured Glinka's attention. Upon his arrival in St. Petersburg, he became a frequent guest of Zhukovsky, where a select group met weekly; They were mainly engaged in literature and music. Regular visitors to these evenings were Pushkin, Vyazemsky, Gogol, Pletnev. “When I expressed my desire to take on Russian opera,” writes Glinka, “Zhukovsky sincerely approved of my intention and offered me the plot of Ivan Susanin. The scene in the forest was deeply etched in my imagination; I found in her a lot of originality, characteristic of Russians.” Glinka’s enthusiasm was so great that “as if by magic, ... a plan for an entire opera was suddenly created...”. Glinka writes that his imagination “warned” the librettist; “...many topics and even development details - all of this flashed into my head at once.”

But it’s not only creative problems that concern Glinka at this time. He is thinking about marriage. Mikhail Ivanovich’s chosen one turned out to be Marya Petrovna Ivanova, a pretty girl, his distant relative. “In addition to a kind and most blameless heart,” Glinka writes to her mother immediately after marriage, “I managed to notice in her the qualities that I always wanted to find in my wife: order and thrift... despite her youth and liveliness of character, she is very reasonable and extremely moderate in desires." But the future wife knew nothing about music. However, Glinka’s feeling for Marya Petrovna was so strong and sincere that the circumstances that subsequently led to the incompatibility of their destinies may not have seemed so significant at that time.

The young couple got married at the end of April 1835. Soon after this, Glinka and his wife went to Novospasskoye. Happiness in his personal life spurred his creative activity, and he took up opera with even greater zeal. The opera progressed quickly, but getting it staged at the St. Petersburg Bolshoi Theater was not easy. Director of the Imperial Theaters A.M. Gedeonov with great persistence prevented the acceptance of the new opera for production. Apparently, trying to protect himself from any surprises, he handed it over to the conductor Kavos, who, as already mentioned, was the author of an opera on the same plot. However, Kavos gave Glinka's work the most flattering review and removed his own opera from the repertoire. Thus, Ivan Susanin was accepted for production, but Glinka was obliged not to demand remuneration for the opera.

Opens the mature period of Glinka's work. In working on this opera, he relied on the basic principles of realism and nationalism, established in Russian literature of the 30s. 19th century The plot of the opera was proposed by Zhukovsky, but in interpreting the historical theme, the composer followed his principle of embodying a folk tragedy. The idea of ​​unyielding courage and patriotism of the Russian people found a generalized expression in the image of Susanin, which Glinka formed under the influence of the “Duma” of the Decembrist poet Ryleev. The author of the libretto, the court poet G. F. Rosen, gave the text a tendentious monarchist overtones. Nicholas I showed close attention to the new opera, replacing its original title “Ivan Susanin” with “A Life for the Tsar”.

The premiere of “Ivan Susanin” took place on November 27, 1836. The success was enormous, Glinka wrote to his mother the next day: “Yesterday evening, my desires finally came true, and my long work was crowned with the most brilliant success. The public received my opera with extraordinary enthusiasm, the actors went wild with zeal... the Emperor... thanked me and talked with me for a long time..."

The acuteness of perception of the novelty of Glinka’s music is remarkably expressed in “Letters about Russia” by Henri Mérimée: “A Life for the Tsar” by Mr. Glinka is distinguished by its extreme originality... This is such a truthful summary of everything that Russia suffered and poured out in song; in this music one can hear such a complete expression of Russian hatred and love, grief and joy, complete darkness and shining dawn... This is more than an opera, this is a national epic, this is a lyrical drama, elevated to the noble heights of its original purpose, when it was not yet frivolous fun, but a patriotic and religious ritual."

Odoevsky wrote: “With Glinka’s first opera there is something that has long been sought and not found in Europe - a new element in art, and a new period begins in its history: the period of Russian music.” In Ivan Susanin, Glinka created a folk heroic tragedy, deeply national in its means of expression. It was fundamentally different from the genre of grand opera on historical themes that was popular at that time (J. Rossini, G. Meyerbeer, F. Ober, F. Halévy). Based on Russian folk song, the composer conveys the historical plot in a broad operatic oratorio composition, highlighting the image of a powerful, indestructible people's force. Glinka was the first to “raise the folk tune to tragedy” (Odoevsky).

The innovative image of Susanin was an expression of realism. This image embodied the best qualities of the Russian national character, at the same time the composer was able to give it specific, vital features. Susanin’s vocal part embodies a new type ariot-chantful recitative. In the opera, for the first time, the principle of synthesis of vocal and symphonic principles, characteristic of the Russian opera school, was established. The unity of symphonic development is expressed, on the one hand, in the cross-cutting implementation of two folk themes, and on the other hand, in an acute, conflicting comparison of figurative thematic groups: Russian and Polish. The smooth, broad themes of the Russian people, Susanin, Vanya, Sobinin, Antonida are contrasted with the sharp, dynamic themes of the “Polish knights”, based on the rhythms of Polish dance. The growth of this conflict is the most important feature of the dramaturgy of Ivan Susanin as an opera of the tragic genre.

The idea of ​​a new opera based on the plot of the poem originated with the composer during Pushkin’s lifetime. Glinka recalls in “Notes”: “... I hoped to draw up a plan according to Pushkin’s instructions; his premature death prevented the fulfillment of my intention.”

The first performance of "Ruslan and Lyudmila" took place on November 27, 1842, exactly - to the day - six years after the premiere of "Ivan Susanin". With uncompromising support for Glinka, as six years ago, Odoevsky spoke, expressing his unconditional admiration for the genius of the composer in the following few, but bright, poetic lines: “... a luxurious flower has grown on Russian musical soil - it is your joy, your glory . Let the worms try to crawl onto its stem and stain it - the worms will fall to the ground, but the flower will remain. Take care of it: it is a delicate flower and blooms only once in a century.”

The success of the opera among the general public increased with each performance. She received high praise in the articles of O. A. Senkovsky, F. A. Koni. F. Liszt and G. Berlioz admired her music. But in court circles, Glinka’s “learned” music was sharply condemned. From 1846 the opera left the St. Petersburg stage and after several performances in Moscow (1846-47) it ceased its stage life for a long time.

The opera “Ruslan and Lyudmila” presents a different type of musical dramaturgy. Imbued with Pushkin’s optimism, the opera is epically majestic, monumental, and epic. The composer gives his own interpretation of the fairy tale plot, as if enlarging Pushkin’s images, endowing them with greatness, significance, and strength. Epic storytelling and philosophical depth in the interpretation of the plot distinguish Glinka’s epic opera from the more traditional “magical” romantic operas of other authors. “Ruslan and Lyudmila” is an opera-legend that gave birth to the heroic images of A. P. Borodin, N. A. Rimsky-Korsakov, M. P. Mussorgsky, A. K. Glazunov. In accordance with this plan, it is not so much the method of conflict development that prevails here, as in “Ivan Susanin,” but rather the technique of contrasting comparisons, the principle of alternating paintings. The technique of framing, “splash and ending”, will later become a typical constructive principle of Russian fairy-tale operas. The main idea of ​​the folk heroic epic - the victory of good over the forces of evil - is concentrated in the overture, which is a prototype of future epic "heroic" Russian symphonies, as well as in Ruslan's aria (2nd act), thematically close to the overture.

Simultaneously with the opera, Glinka creates a number of works. high skill: romances to the words of Pushkin (, “Where is our rose”, “Night marshmallow”), elegy “Doubt”, vocal cycle , first version, music for N. V. Kukolnik’s tragedy “Prince Kholmsky”.

At this time, Glinka’s activities as a vocalist, performer and teacher acquired great importance. Possessing perfect vocal art, he passes on his artistic experience to talented Russian singers S.S. Gulak-Artemovsky, later - D. M. Leonova, L. I. Belenitsyna-Karmalina and others, affirms the methodological foundations of the Russian school of singing in his sketches and exercises. Glinka's advice was used by leading artists of Russian opera - O. A. Petrov and A. Ya. Petrova-Vorobyova (the first to perform the roles of Susanin and Vanya).

The composer's life became more and more difficult. The “royal mercy” of Nicholas I, who appointed Glinka as a reward as bandmaster of the Court Singing Chapel, turned out to be a heavy burden. The service placed the composer in the dependent position of a court official. Philistine gossip “in the world” was caused by divorce proceedings. The marriage to M.P. Ivanova, a poorly educated, limited woman who was far from her husband’s creative interests, brought bitter disappointment. Glinka breaks off previous acquaintances and seeks refuge in the artistic world. However, the rapprochement with the popular writer N.V. Kukolnik and his society did not internally satisfy the composer; he became increasingly aware of his loneliness in an atmosphere of envy, gossip and petty adversity.

The opera "Ruslan and Lyudmila", in comparison with "Ivan Susanin", aroused stronger criticism. Glinka's most fierce opponent in the press was F. Bulgarin, at that time still a very influential journalist. The composer takes this hard. In mid-1844, he took another long trip abroad - this time to France and Spain. Soon, bright and varied impressions return Glinka to a high vitality.

This trip confirmed the European fame of the Russian master. Berlioz became a great admirer of his talent, performing his works in his concert in the spring of 1845. The author's concert in Paris was a success.

Glinka’s life in Spain (more than 2 years) is a bright page in the artist’s creative biography. He studied the culture, customs, and language of the Spanish people; recorded melodies from folk singers and guitarists, watched the festivals. The result of these impressions were 2 symphonic overtures: (1845) and “Memory of Castile” (1848, 2nd ed. - “Memory of a Summer Night in Madrid”, 1851).

Glinka spent the last decade of his life in Russia (Novospasskoye, Smolensk, St. Petersburg) and abroad (Paris, Berlin). He lived for a long time in Warsaw, where in the summer of 1848 the brilliant “Russian scherzo” was created.

The flourishing of the realistic principles of the “natural school”, the powerful influx of young forces into Russian literature, the process of democratization of Russian art, which intensified on the eve of the peasant reform - these were the phenomena that surrounded the composer and influenced his plans. In the early 50s. he conceived the program symphony “Taras Bulba” (based on the story by Gogol), and in 1855 - the opera from folk life “The Bigamist” (based on the drama of the same name by A. A. Shakhovsky). These products remained unfulfilled, but Glinka’s creative plans paved the way for the future. The idea of ​​​​creating a folk-heroic symphony on Ukrainian themes was close to the principles of genre programming, which were later developed in the work of the composers of the “Mighty Handful”.

In the 50s A group of like-minded people forms around Glinka. Among them is the young, future leader of the “Mighty Handful”. Glinka treated his first creative experiments with special warmth. His circle includes music critics A. N. Serov and V. V. Stasov. Glinka constantly meets with A. S. Dargomyzhsky, who was working on the opera “Rusalka” at that time. Conversations with Serov concerning the problems of musical aesthetics were of great importance. In 1852, Glinka dictated his “Notes on Instrumentation” to Serov; in 1854-55 he wrote “Notes” - the most valuable document in the history of musical culture.

In the spring of 1856, the composer made his last trip abroad - to Berlin. Fascinated by ancient polyphony, he worked in depth on the legacy of Palestrina, G. F. Handel, J. S. Bach. At the same time, in these studies he pursued the special goal of creating an original system of Russian counterpoint. The idea of ​​“connecting the Western fugue with the conditions of our music by the bonds of legal marriage” prompted Glinka to closely study the ancient Russian melodies of Znamenny chant, in which he saw the basis of Russian polyphony. The composer was not destined to bring these plans to life. But later they were picked up by S.I. Taneyev, S. V. Rachmaninov and other Russian masters.

Glinka died on February 15, 1857 in Berlin. His ashes were transported to St. Petersburg and buried in the cemetery of the Alexander Nevsky Lavra.

Glinka's work is evidence of the powerful rise of Russian national culture, generated by the events of the Patriotic War of 1812 and the Decembrist movement. Glinka accomplished in music the most important task put forward by time: the creation of realistic art that reflects the ideals, aspirations and thoughts of the people. In the history of Russian music, Glinka, like Pushkin in literature, acted as the founder of a new historical period: his brilliant creations determined the national and world significance of Russian musical art. It is in this sense that he is the first classic of Russian music. His work is connected with the historical past: it absorbed the traditions of ancient Russian choral art, implemented in a new way the most important achievements of the Russian school of composition of the 18th - early 19th centuries, and grew on the native soil of Russian folk song.

Glinka’s innovation lies, first of all, in a deep understanding of the people, “The people create music, and we, the artists, only arrange it” - the composer’s words, recorded by Serov, became the main thought of his work. Glinka boldly expanded the limited understanding of the folk and went beyond the purely everyday depiction of folk life. Glinka’s nationality is a reflection of character, worldview, “way of thinking and feeling of the people” (Pushkin). Unlike his older contemporaries (primarily A.N. Verstovsky, ), he perceives folk music in its entirety, paying attention not only to urban romance, but also to ancient peasant song.

Mikhail Ivanovich Glinka (1804-1857) played a special role in the history of Russian culture:

in his work the process of forming a national composition school was completed;

in his person, Russian music for the first time put forward a world-class composer, thanks to whom it was included in the context of the peak achievements of artXIX;

It was Glinka who gave universally significant content to the idea of ​​Russian national self-expression.

The first Russian classical composer, contemporary of Pushkin , Glinka was a representative of a turbulent, turning-point time, full of dramatic events. The most important of them are the Patriotic War of 1812 and the Decembrist uprising (1825). They determined the main direction of the composer’s work (“Let us dedicate our souls to the Fatherland with beautiful impulses”).

Basic facts of creative biography, periodization

The most reliable source of information about the composer is his “Notes”, which area remarkable example of memoir literature (1854-55). In them, Glinka, with his characteristic penchant for accuracy and clarity, clearly outlined the main stages of his life.

First stage - childhood and youth (until 1830). Born on May 20, 1804 in the village of Novospasskoye, Smolensk province. The most powerful impressions of my childhood: Russian peasant song, my uncle’s serf orchestra, the singing of the church choir, the ringing of the bells of the village church.

His stay at the St. Petersburg Noble Boarding School (1817-22), where his teacher was V. Kuchelbecker, the future Decembrist, had a beneficial influence on Glinka.

The main creative achievements of the young Glinka are associated with the romance genre.

Second phase - period of professional development (1830 - 1835). At this time, travel gave the composer many bright artistic impulses: a trip to the Caucasus (1823), a stay in Italy, Austria, Germany (1830-34). In Italy, he met G. Berlioz, F. Mendelssohn, V. Bellini, G. Donizetti, became interested in Italian opera, and studied the art of bel canto in practice. In Berlin, he seriously studied harmony and counterpoint under the guidance of the famous theorist Z. Dehn.

Startcentral period (1836 - 1844) was marked by the creation of the opera “A Life for the Tsar” . At the same time, romances based on Pushkin’s poems, the vocal cycle “Farewell to Petersburg”, the first version of “Waltz-Fantasy”, music for N. Kukolnik’s tragedy “Prince Kholmsky” appeared. For about 6 years, Glinka worked on his second opera - “Ruslan and Lyudmila” (based on Pushkin’s poem, staged in 1842). These years coincided with Glinka’s active teaching activities. An excellent vocal teacher, he trained many talented singers, including S.S. Gulak-Artemovsky, author of the classic Ukrainian opera “Cossack beyond the Danube”.

Late period creativity (1845-1857).Glinka spent the last years of his life in Russia (Novospasskoye, St. Petersburg, Smolensk), often traveling abroad (France, Spain).His Spanish impressions inspired him to create two symphonic plays: The Aragonese Hunt and Memories of a Summer Night in Madrid. Next to them is the brilliant “Russian scherzo, “Kamarinskaya”, created in Warsaw.

In the 50s, Glinka’s connections with the younger generation of Russian musicians began - M.A. Balakirev, A.S. Dargomyzhsky, A.N. Serov (to whom he dictated his “Notes on Instrumentation”).Among the unfinished plans of these years are the program symphony “Taras Bulba” and the opera-drama “The Bigamist” (based on A. Shakhovsky).

In an effort to “tie the knot of legal marriage” with Russian folk song and fugue, in the spring of 1856 Glinka went on his last trip abroad to Berlin. Here he died on February 3, 1857, and was buried in the cemetery of the Alexander Nevsky Lavra in St. Petersburg.

Glinka's style, like the style of his contemporaries Pushkin and Bryullov, is synthetic in nature. It intertwined in an inseparable unity classicist rationality, romantic ardor and young Russian realism, the flowering of which was yet to come.

The parallels between Glinka and Pushkin have become textbook. Glinka in Russian music is the same “our everything” as Pushkin in poetry. Pushkin's muse inspired Glinka to create a number of romances and the opera "Ruslan and Lyudmila". Both composer and poetare compared with Mozart, speaking about the “Mozartian perfection” of their talents. Glinka has in common with Pushkin a harmonious perception of the world, a desire for the triumph of reason, goodness, justice, an amazing ability to poeticize reality, to see beauty in the everyday (signs of the aesthetics of classicism).

Like Pushkin's poetry, Glinka's music is a deeply national phenomenon.It was nourished by the origins of Russian folk art, assimilated the traditions of ancient Russian choral culture, and innovatively implemented the most important achievements of the national composer school of the previous period.The desire for national character became an important link between Glinka's art and the aesthetics of musical romanticism.

Folk art had a huge influence on both Pushkin and Glinka. The famous words of the composer “the people create music, and we, artists, only arrange it” (recorded by A.N. Serov) quite specifically express his creative credo.

It is natural that Glinka was especially attracted to Pushkin’s poetry, where the emotional and logical principles are fused in a unique unity. The composer and the poet are closest to each other in the classical sensebeauty a work of art. It is no coincidence that Asafiev says that Glinka was “a classicist in all his thoughts, only seduced and delighted by the artistic culture of feeling - romanticism...”.

Growing up on Russian soil, Glinka's art -This is not just a national phenomenon. Composerwas unusually sensitive to the folklore of different peoples. Probably, this trait was formed in childhood: the folk culture of the Smolensk region, where he spent his childhood, absorbed elements of Ukrainian, Belarusian, and Polish folklore. Traveling a lot, Glinka eagerly absorbed impressions from nature, from meetings with people, and from art. He was the first Russian composer to visit the Caucasus . The Caucasus and, more broadly, the theme of the East since the time of Glinka have becomean integral part of Russian musical culture.

Glinka was a well-educated man and knew European languages.He came to his highest achievements by studying the experience of the great Western European masters. Acquaintance with Western European romantic composers broadened his horizons.

Understanding the experience of modern history was clearly reflected in the most important theme of Glinka’s work - the theme of sacrificial feat in the name of Holy Rus', the Tsar, faith, family. In the composer's first opera, A Life for the Tsar, this heroic themepersonified in the concrete historical image of the peasant Ivan Susanin. The novelty of this work was appreciated by the most advanced minds of the time. Zhukovsky:

Sing in delight, Russian choir,

A new product has been released.

Have fun, Rus'! Our Glinka -

Not clay, but porcelain.

Characteristic features of the style

an ideal sense of form, classical harmony of proportions, thoughtfulness of the smallest details of the entire composition;

constant desire to think in Russian, affinity with Russian folk songs. Glinka rarely uses quotes from genuine folklore melodies, but his own musical themes sound like folk ones.

melodic richness. FThe function of melody is the leading one in Glinka’s music. Singing melody,chanting connects Glinka’s music with Russian folk songwriting; Particularly typical are sixth and hexachord chants, fifth-tone singing, and a descending V-I movement;

In Glinka’s music, freedom and smoothness of voice delivery, reliance ontraditions of subvocal polyphony;

predominance of variant-singing and variational development. Variation as a method of development is inherited by the composers of The Mighty Handful, Tchaikovsky, Rachmaninov.

mastery of orchestral color. Using the differentiated orchestration method. In "Notes on Instrumentation" Glinka defines the functions of each orchestral group. Strings - “their main character is movement.” Woodwinds are exponents of national color. Brass instruments are “dark spots in the picture.” Special coloristic nuances are created through the use of additional instruments (harp, piano, bells, celesta) and a rich group of percussion.

Many features of Glinka’s harmony are associated with the national specifics of Russian music: plagalism, modal variability, widespread use of side steps of the mode, variable mode, modes of folk music. At the same time, the composer uses the means of modern romantic harmony: increased triad, dominant non-chord, major-minor means, whole-tone scale.

Glinka's creative heritage covers all major musical genres: opera, drama music, symphonic works, piano pieces, romances, chamber ensembles. But Glinka's main merit is the creation of Russian classical opera.Glinka's operatic work became the main one for Russian opera, defining its two main directions - folk musical drama and fairy-tale epic.According to Odoevsky, “with Glinka’s opera there is something that has long been sought and not found in Europe - a new element in art, and a new period begins in its history: the period of Russian music.

Both operas played a huge role in the development of Russian symphony. Glinka for the first time abandoned the previous distinction between instrumental presentation into “zones” of accompanied recitative and through symphonic presentation.

“I admire the beauty of this plasticity: the impression is that the voice, like a sculptor’s hand, sculpts sound-tangible forms...” (B. Asafiev, “Glinka”)

“I want the sound to directly express the word. I want the truth” (A. Dargomyzhsky)

Both Glinka and Dargomyzhsky turned to the romance genre throughout their entire creative careers. The romances concentrate the main themes and images characteristic of these composers; In them, old types of the romance genre were strengthened and new types emerged.

At the time of Glinka and Dargomyzhsky in the 1st half of the 19th century, there were several types of romance: these were “Russian songs”, urban everyday romances, elegies, ballads, drinking songs, barcarolles, serenades, as well as mixed types that combined various features.

The most significant stages in the development of romance are associated with the work of Glinka and Dargomyzhsky. Glinka’s work laid the foundations of romance lyrics and revealed a variety of genre varieties. Dargomyzhsky enriched the romance with new colors, closely combining words and music, and continued Glinka’s ideas. Each composer in his own way captured the spirit of the time and era in his works. These traditions were continued by other Russian classics: Balakirev, Rimsky-Korsakov, Tchaikovsky (the path from Glinka), Mussorgsky (the path from Dargomyzhsky).

Romances in the works of M.I. Glinka

Glinka's romances continue the development of the genre and enrich it with new features and genre varieties. Glinka’s work began precisely with romances, in which his compositional appearance was gradually revealed.

The themes and musical content of the early romances differ from the romances of Glinka's mature period. Also, throughout the composer’s creative path, the range of poetic sources also changes. If at first Glinka gives preference to the poems of Baratynsky, Delvig, Batyushkov, Zhukovsky, then later the beautiful poetry of A.S. Pushkin inspires him to create the best examples of the genre. There are romances based on poems by little-known poets: Kozlov, Rimsky-Korsak, Pavlov. Quite often in his mature period, Glinka turns to the texts of Kukolnik (“Farewell to Petersburg,” “Doubt,” “A Passing Song”). Despite the varied quality and weight of poetic lines, Glinka is able to “wash even a minor text with beautiful music” (Asafiev).

Glinka pays special attention to the poetry of Pushkin; his music accurately reflects the subtleties of the poetic touch of the great Russian poet. Glinka was not only his contemporary, but also a follower, and developed his ideas in music. Therefore, when mentioning a composer, they often also talk about a poet; they marked the beginning of “that single powerful stream that carries the precious burden of national culture” (Blok).

The music of Glinka's romances is dominated by the poetic image of the text. The means of musical expressiveness in both the vocal melody and the piano part are aimed at creating a holistic, generalized image or mood. Also, integrity and completeness are promoted by the musical form chosen by Glinka depending on the figurative structure or simply on the features of the text. The largest number of romances are written in verse-variation form - this is “Lark” in the genre of a Russian song to the text of Kukolnik, as well as romances of the early period of creativity (elegy “Do not tempt”, “Autumn Night”, etc.). The 3-part form is quite common - in romances based on Pushkin’s poems (“I remember a wonderful moment”, “I am here, Inezilla”), and a complex through form with signs of tripartite, and the rondo form. A characteristic feature of Glinka’s form is rigor, symmetry and completeness of construction.

The vocal melody of the romances is so melodious that it also influences the accompaniment. But sometimes Glinka uses the cantilena in juxtaposition with a recitative style (“I remember a wonderful moment,” middle part). Speaking about the melody of the voice, one cannot fail to mention Glinka’s vocal education: “Initiated into all the mysteries of Italian singing and German harmony, the composer deeply penetrated the character of Russian melody!” (V. Odoevsky).

The piano part of romances can deepen the content of the text, highlighting its individual stages (“I remember a wonderful moment”), concentrates the main dramatic emotion (“Don’t say that your heart hurts”), or performs visual functions: creates landscape characteristics, Spanish flavor (“Night marshmallows”, “The blue ones fell asleep”, “Knight’s romance”, “Oh my wonderful maiden”). Sometimes the piano part reveals the main idea of ​​the romance - this occurs in romances with a piano introduction or frame (“I remember a wonderful moment”, “Tell me why”, “Night view”, “Doubt”, “Do not tempt”).

In Glinka’s work, new types of romances are formed: romances with Spanish themes, popular in Russia, acquire the bright, national-coloristic features of Spanish genres. Glinka turns to dance genres and introduces a new type of romance - in dance rhythms (waltz, mazurka, etc.); also turns to oriental themes, which will subsequently find a continuation in the work of Dargomyzhsky and the composers of the “Mighty Handful”.

Romances in the works of A.S. Dargomyzhsky

Dargomyzhsky became a follower of Glinka, but his creative path was different. This depended on the time frame of his work: while Glinka worked in the era of Pushkin, Dargomyzhsky created his works about ten years later, being a contemporary of Lermontov and Gogol.

The origins of his romances go back to everyday urban and folk music of that time; Dargomyzhsky's romance genre has a different orientation.

Dargomyzhsky's circle of poets is quite wide, but the poetry of Pushkin and Lermontov occupies a special place in it. The interpretation of Pushkin's texts is given by Dargomyzhsky in a different aspect than that of Glinka. Characteristics, showing the details of the text (unlike Glinka) and creating diverse images, even entire galleries of musical portraits, become defining in his music.

Dargomyzhsky turns to the poetry of Delvig, Koltsov, Kurochkin (translations from Beranger) (most of the romances), Zhadovskaya, and folk texts (for the veracity of the image). Among Dargomyzhsky's types of romance are Russian songs, ballads, fantasies, monologues-portraits of various types, and a new genre of oriental romance.

A distinctive feature of Dargomyzhsky’s music is its appeal to speech intonation, which is very important for showing the hero’s various experiences. The nature of vocal melody, which is different from Glinka’s, is also rooted here. It is composed of different motives that convey the intonations of speech, its features and shades (“I’m sad”, “I still love him” - tritone intonations).

The form of romances of the early period of creativity is often verse-variation (which is traditional). Characteristic is the use of rondo (“Wedding” to the words of Timofeev), a two-part form (“Young Man and Maiden”, “Titular Advisor”), a form of through development (the ballad “Paladin” to the text of Zhukovsky), a couplet form with features of a rondo (“Old Corporal” ). Dargomyzhsky is characterized by a violation of the usual forms (“Crazy, without reason” - a violation of the verse-variation). Romance-scenes at first glance have a simple form, but the content and richness of the text change the perception of the form (“Melnik”, “Titular Advisor”). The form of “The Old Corporal,” for all its verse, is dramatized from within thanks to the text, since the semantic load is very important, the tragic core clearly appears in it, this is a new understanding of the form based on continuous development.

Dargomyzhsky’s piano part in most cases occurs in the form of a “guitar” accompaniment (“I’m sad,” “We parted proudly,” “I still love him,” etc.), serving as a general background. Sometimes she follows the vocal melody by repeating the chorus ("Old Corporal", "Worm"). There are also piano introductions and conclusions, their meaning is often the same as in Glinka’s romances. Dargomyzhsky also uses sound visualization techniques, which enliven the monologue scenes: the march of soldiers and the shot in “The Old Corporal”, portraits in “Titular Councilor”, etc.

The themes of Dargomyzhsky's romances are varied, and the characters are also different. These include petty officials and people of ignoble origin. For the first time in Dargomyzhsky’s work, the theme of a woman’s lot, an unhappy fate appears (“Fever”, “I Still Love Him”, “We Parted Proudly”, “Crazy, Without Reason”). There are also oriental romances that continue Glinka’s “Ratmirov” theme (“Oriental Romance” based on the text of “The Greek Woman”).

The work of M. I. Glinka marked a new historical stage of development - classical. He managed to combine the best European trends with national traditions. All of Glinka’s work deserves attention. All the genres in which he worked fruitfully should be briefly described. Firstly, these are his operas. They have acquired enormous significance because they truthfully recreate the heroic events of past years. His romances are filled with special sensuality and beauty. Symphonic works are characterized by incredible picturesqueness. In folk songs, Glinka discovered poetry and created a truly democratic national art.

Creativity and Childhood and youth

Born May 20, 1804. His childhood was spent in the village of Novospasskoye. The fairy tales and songs of nanny Avdotya Ivanovna were vivid and memorable impressions for a lifetime. He was always attracted by the sound of bells, which he soon began to imitate on copper basins. He began reading early and was naturally inquisitive. Reading the ancient publication “On Wanderings in General” had a beneficial effect. It aroused great interest in travel, geography, drawing and music. Before entering the noble boarding school, he took piano lessons and quickly succeeded in this difficult task.

In the winter of 1817, he was sent to St. Petersburg to a boarding school, where he spent four years. Studied with Boehm and Field. Glinka's life and work in the period from 1823 to 1830 were very eventful. From 1824 he visited the Caucasus, where he served until 1828 as assistant secretary of communications. From 1819 to 1828 he periodically visited his native Novospasskoye. Afterwards he meets new friends in St. Petersburg (P. Yushkov and D. Demidov). During this period he created his first romances. This:

• Elegy "Do not tempt me" to the words of Baratynsky.
• "Poor singer" to the words of Zhukovsky.
• “I love you, you kept telling me” and “It’s bitter for me, it’s bitter” to the words of Korsak.

He writes piano pieces and makes his first attempt to write the opera “A Life for the Tsar.”

First trip abroad

In 1830 he went to Italy, visiting Germany along the way. This was his first trip abroad. He went here to improve his health and enjoy the surrounding nature of an unexplored country. The impressions he received gave him material for the oriental scenes of the opera "Ruslan and Lyudmila". He was in Italy until 1833, mainly in Milan.

Glinka’s life and work in this country are successful, easy and relaxed. Here he met the painter K. Bryullov and Moscow professor S. Shevyryaev. Of the composers - with Donizetti, Mendelssohn, Berlioz and others. In Milan, with Riccordi, he published some of his works.

In 1831-1832 he composed two serenades, a number of romances, Italian cavatinas, and a sextet in the key of E-flat major. In aristocratic circles he was known as Maestro russo.

In July 1833 he went to Vienna, and then spent about six months in Berlin. Here he enriches his technical knowledge with the famous contrapuntist Z. Dehn. Subsequently, under his leadership, he wrote the Russian Symphony. At this time, the composer's talent was developing. Glinka’s work becomes freer from other people’s influence, he treats it more consciously. In his “Notes” he admits that all this time he was looking for his own path and style. Longing for his homeland, he thinks about writing in Russian.

Homecoming

In the spring of 1834, Mikhail arrived in Novospasskoye. He thought about going abroad again, but decides to stay in his native land. In the summer of 1834 he went to Moscow. He meets here with Melgunov and restores his former acquaintances with musical and literary circles. Among them are Aksakov, Verstovsky, Pogodin, Shevyrev. Glinka decided to create a Russian one. He took on the romantic opera “Maryina Roshcha” (based on the plot of Zhukovsky). The composer's plan was not realized, the sketches did not reach us.

In the fall of 1834 he came to St. Petersburg, where he attended literary and amateur circles. One day Zhukovsky told him to take the plot of “Ivan Susanin”. During this period of time, he composed the following romances: “Don’t call her heavenly,” “Don’t say, love will pass,” “I just recognized you,” “I’m here, Inesilya.” A big event is happening in his personal life - marriage. Along with this, he became interested in writing Russian opera. Personal experiences influenced Glinka’s work, in particular the music of his opera. Initially, the composer planned to write a cantata consisting of three scenes. The first was to be called the rural scene, the second - the Polish, the third - the solemn finale. But under the influence of Zhukovsky, he created a dramatic opera consisting of five acts.

The premiere of “A Life for the Tsar” took place on November 27, 1836. V. Odoevsky appreciated it. Emperor Nicholas I gave Glinka a ring for 4,000 rubles for this. A couple of months later he appointed him bandmaster. In 1839, for a number of reasons, Glinka resigned. During this period, fruitful creativity continues. Glinka Mikhail Ivanovich wrote the following compositions: “Night View”, “North Star”, another scene from “Ivan Susanin”. He takes up a new opera based on the plot of “Ruslan and Lyudmila” on the advice of Shakhovsky. In November 1839 he divorced his wife. During his life with the “brothers” (1839-1841), he created a number of romances. The opera "Ruslan and Lyudmila" was a long-awaited event; tickets were sold out in advance. The premiere took place on November 27, 1842. The success was stunning. After 53 performances the opera was no longer performed. The composer decided that his brainchild was underestimated, and apathy sets in. Glinka's work is suspended for a year.

Traveling to distant countries

In the summer of 1843 he travels through Germany to Paris, where he remains until the spring of 1844.

Renews old acquaintances, becomes friends with Berlioz. Glinka was impressed by his works. He studies his programmatic works. In Paris he maintains friendly relations with Merimee, Hertz, Chateauneuf and many other musicians and writers. Then he visits Spain, where he lives for two years. He was in Andalusia, Granada, Valladolid, Madrid, Pamplona, ​​Segovia. Composes "Aragonese Jota". Here he takes a break from pressing St. Petersburg problems. While walking around Spain, Mikhail Ivanovich collected folk songs and dances and wrote them down in a book. Some of them formed the basis of the work "Night in Madrid". From Glinka’s letters it becomes obvious that in Spain he rests his soul and heart, he lives very well here.

last years of life

In July 1847 he returned to his homeland. Lives for some time in Novospasskoye. The work of Mikhail Glinka resumed with renewed vigor during this period. He writes several piano pieces, the romance “You Will Soon Forget Me” and others. In the spring of 1848 he went to Warsaw and lived here until the fall. He writes "Kamarinskaya", "Night in Madrid", romances for the orchestra. In November 1848 he came to St. Petersburg, where he was sick all winter.

In the spring of 1849 he again went to Warsaw and lived here until the autumn of 1851. In July of this year, he fell ill after receiving the sad news of his mother’s death. In September he returns to St. Petersburg, lives with his sister L. Shestakova. He composes extremely rarely. In May 1852 he went to Paris and stayed here until May 1854. From 1854-1856 he lived in St. Petersburg with his sister. He is interested in Russian singer D. Leonova. She creates arrangements for her concerts. On April 27, 1856 he left for Berlin, where he settled next door to Dehn. He came to visit him every day and supervised classes in a strict style. The work of M. I. Glinka could continue. But on the evening of January 9, 1857, he caught a cold. On February 3, Mikhail Ivanovich died.

What is Glinka's innovation?

M. I. Glinka created the Russian style in musical art. He was the first composer in Russia who combined musical technique (this concerns melody, harmony, rhythm and counterpoint) with the (Russian folk) song style. Creativity contains quite vivid examples of this kind. This is his folk musical drama "Life for the Tsar", the epic opera "Ruslan and Lyudmila". As an example of the Russian symphonic style, one can name “Kamarinskaya”, “Prince Kholmsky”, overtures and intermissions to both of his operas. His romances are highly artistic examples of lyrically and dramatically expressed songs. Glinka is rightfully considered a classical master of world significance.

Symphonic creativity

The composer created a small number of works for the symphony orchestra. But their role in the history of musical art turned out to be so important that they are considered the basis of Russian classical symphonism. Almost all belong to the genre of fantasies or one-part overtures. "Aragonese Jota", "Waltz Fantasy", "Kamarinskaya", "Prince Kholmsky" and "Night in Madrid" make up Glinka's symphonic work. The composer laid down new principles of development.

The main features of his symphonic overtures:

• Availability.
• The principle of generalized programming.
• Uniqueness of forms.
• Conciseness, laconism of forms.
• Dependence on the general artistic concept.

Glinka’s symphonic work was successfully characterized by P. Tchaikovsky, comparing “Kamarinskaya” to an oak and an acorn. And he emphasized that this work contains a whole Russian symphonic school.

The composer's operatic legacy

"Ivan Susanin" ("Life for the Tsar") and "Ruslan and Lyudmila" constitute Glinka's operatic work. The first opera is a folk musical drama. It intertwines several genres. Firstly, this is a heroic-epic opera (the plot is based on the historical events of 1612). Secondly, it contains the features of epic opera, lyrical-psychological and folk musical drama. If "Ivan Susanin" continues European trends, then "Ruslan and Lyudmila" represents a new type of drama - epic.

It was written in 1842. The public could not appreciate it; it was incomprehensible to the majority. V. Stasov was one of the few critics who noticed its significance for the entire Russian musical culture. He emphasized that this was not just an unsuccessful opera, but a new type of dramaturgy, completely unknown. Features of the opera "Ruslan and Lyudmila":

• Slow development.
• No direct conflicts.
• Romantic tendencies - colorfulness and picturesqueness.

Romances and songs

Glinka's vocal creativity was created by the composer throughout his life. He wrote more than 70 romances. They embody a variety of feelings: love, sadness, emotional impulse, delight, disappointment, etc. Some of them depict pictures of everyday life and nature. Glinka is capable of all types of everyday romance. "Russian song", serenade, elegy. It also covers such everyday dances as waltz, polka and mazurka. The composer turns to genres that are characteristic of the music of other peoples. These are the Italian barcarolle and the Spanish bolero. The forms of romances are quite diverse: three-part, simple verse, complex, rondo. Glinka's vocal work includes texts by twenty poets. He managed to convey in music the peculiarities of the poetic language of each author. The main means of expression of many romances is the melodious melody of wide breathing. The piano part plays a huge role. Almost all romances have introductions that introduce the action and set the mood. Glinka's romances are very famous:

• "The fire of desire burns in the blood."
• "Lark"
• "A passing song."
• "Doubt".
• "I remember a wonderful moment."
• "Don't tempt."
• "You will soon forget me."
• "Don't say it hurts your heart."
• "Don't sing, beauty, in front of me."
• "Confession".
• "Night View".
• "Memory".
• "To her".
• "I'm here, Inesilla."
• "Oh, you're a night, little night."
• "At a difficult moment in life."

Glinka's chamber and instrumental works (briefly)

The most striking example of an instrumental ensemble is Glinka’s major work for piano and string quintet. This is a wonderful divertissement based on Bellini's famous opera La Sonnambula. New ideas and tasks are embodied in two chamber ensembles: the Grand Sextet and the Pathetic Trio. And although these works feel dependent on the Italian tradition, they are quite distinctive and original. In the “Sextet” there is a rich melody, a prominent thematic theme, and a harmonious form. concert type. In this work, Glinka tried to convey the beauty of Italian nature. "Trio" is the complete opposite of the first ensemble. His personality is gloomy and agitated.

Glinka's chamber music significantly enriched the performing repertoire of violinists, pianists, violists, and clarinetists. Chamber ensembles attract listeners with their extraordinary depth of musical thoughts, variety of rhythmic formulas, and naturalness of melodic breathing.

Conclusion

Glinka's musical creativity combines the best European trends with national traditions. The name of the composer is associated with a new stage in the history of the development of musical art, which is called “classical”. Glinka's work covers various genres that have taken their place in the history of Russian music and deserve attention from listeners and researchers. Each of his operas opens up a new type of dramaturgy. "Ivan Susanin" is a folk musical drama that combines various features. "Ruslan and Lyudmila" is a fairy-tale-epic opera without pronounced conflicts. It develops calmly and slowly. It is characterized by colorfulness and picturesqueness. His operas have acquired enormous significance as they truthfully recreate the heroic events of past years. Few symphonic works have been written. However, they were able not only to please listeners, but also to become a real asset and the basis of Russian symphonism, since they are characterized by incredible picturesqueness.

The composer's vocal work includes about 70 works. They are all charming and delightful. They embody various emotions, feelings and moods. They are filled with special beauty. The composer addresses different genres and forms. As for chamber instrumental works, they are also few in number. However, their role is no less important. They expanded the performing repertoire with new worthy examples.

Chapter I. Glinka's operas in the mirror of Russian musicology

“Life for the Tsar” or “Ivan Susanin”?

Symphonic and epic opera: problems of musical dramaturgy

"Russian" and "Western European"

Glinka in the assessments of Western European musicology

Chapter II. “A Life for the Tsar” and “Ruslan” by Glinka: intersections with European opera genres

Historical theme in opera of the first third of the 19th century

“A Life for the Tsar” in the context of Western European librettism

“One's own and someone else's” in “Life for the Tsar”

“Ruslan and Lyudmila” and the traditions of magic opera

Real and fantastic in “Ruslan”

Heroes and plot motifs of “Ruslan”

Chapter III. Glinka's operas and compositional techniques of European masters

Musical dramaturgy

The hero as a “luminary of the folk choir”

"Forme means beauty"

".Under the melodic sky of Italy."

“.I am almost convinced that it is possible to connect the Western fugue with the conditions of our music by the bonds of legal marriage”

“Grand Opera Orchestra” 138 Conclusion 152 Bibliography 156 Appendix

Introduction of the dissertation (part of the abstract) on the topic “Opera creativity of M.I. Glinka in the context of Western European musical theater of the 18th - first half of the 19th centuries"

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